{"id":61819,"date":"2016-12-09T00:58:00","date_gmt":"2016-12-08T23:58:00","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=61819"},"modified":"2023-04-03T15:44:40","modified_gmt":"2023-04-03T13:44:40","slug":"la-seccion-del-mundo-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-seccion-del-mundo-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]La secci\u00f3n del Mundo | Miguel \u00c1ngel D\u00edaz Camacho[:gl]A secci\u00f3n do Mundo | Miguel \u00c1ngel D\u00edaz Camacho[:en]The section of the World | Miguel \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"La
El Museo de sir John Soane<\/span><\/figcaption><\/figure><\/p>\n

La idea de atesorar la historia universal de la arquitectura, la escultura y la pintura, asombra y aterra a partes iguales. Si la c\u00e1mara de los tesoros<\/em> forma parte\u00a0adem\u00e1s\u00a0de un programa dom\u00e9stico, nos encontramos ante una seductora entelequia del habitar: la vida como inmersi\u00f3n <\/em>permanente\u00a0en la cultura; la colecci\u00f3n como la representaci\u00f3n misma de su habitante y creador; la casa como resumen del universo.<\/p>\n

La casa museo de John Soane<\/a> en Lincoln’s Inn Fields ocupa tres viviendas consecutivas cosidas <\/em>gracias a los proyectos sucesivos del propio Soane.1 <\/sup>A la estructura longitudinal de las casas entre medianeras, se contrapone la disposici\u00f3n transversal del museo, instalado en la parte posterior como elemento vertebrador de las tres edificaciones.<\/p>\n

La secci\u00f3n transversal revela una concepci\u00f3n pre-moderna<\/em> del espacio, presentando un continuo fluido y a la vez cualificando la luz de cada estancia desde un sofisticado cat\u00e1logo de b\u00f3vedas y lucernarios. La colecci\u00f3n, precisa y celosamente adquirida durante toda una vida, lo inunda todo, disolviendo la presencia de la arquitectura en una atm\u00f3sfera heterog\u00e9nea saturada de im\u00e1genes de procedencia dispar:<\/p>\n

\n

\u00abla casa de Soane es la historia de Soane, la autobiograf\u00eda de Soane, una autobiograf\u00eda que obligar\u00eda, por otra parte, a una interpretaci\u00f3n de la casa en clave literaria: […] la autobiograf\u00eda, la casa, es la versi\u00f3n m\u00e1s real de la vida, de una vida en la que el mundo de la ficci\u00f3n deseada se entrecruza con la representaci\u00f3n del papel que cada uno juega en ella\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

La casa museo de John Soane aparece como una antolog\u00eda del Mundo, un gabinete,3 <\/sup>un Wunder K\u00e4mmerlein<\/em>, un lugar desde el que convocar la historia de la Cultura como propia: un ejercicio de sumisi\u00f3n desde uno de los espejismos del conocimiento.4<\/sup> Como si para ser un verdadero arquitecto fuese necesario no ya conocer la Arquitectura, sino diseccionar su propia naturaleza; ofrecer toda una vida a su estudio, colecci\u00f3n, dibujo y clasificaci\u00f3n; convertir la cultura y la existencia en una suerte de religi\u00f3n\u00a0enciclop\u00e9dica.<\/p>\n

Solo as\u00ed se entiende la coexistencia abisal de obras de Canaletto y momias egipcias; cuadros de Turner y copas etruscas; bronces de la antigua Roma y figuras prehist\u00f3ricas de terracota o cornisas griegas. Como el reflejo desfigurado de su biograf\u00eda, la casa tesauro <\/em>de John Soane<\/a> ofrece la miserable y a la vez sublime exploraci\u00f3n de s\u00ed mismo: una secci\u00f3n del Mundo.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto
\nMadrid. Febrero 2015.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>. La familia se instala en el n\u00ba12 hacia 1792; en 1813 ocupan la nueva casa en el n\u00ba13; tras la muerte de su esposa en 1815, en 1823 se compra y rehabilita la casa situada en el n\u00ba14, completando la serie de tres casas de ladrillo entre medianeras.<\/p>\n

2<\/sup>. Rafael Moneo sobre la casa museo de John Soane: \u00ab4 citas \/ 4 notas\u00bb, Arquitecturas Bis 38-39, julio – octubre 1981.<\/p>\n

3<\/sup>. F\u00e9lix de Az\u00faa se refiere al gabinete como la primera forma de museo, un antecesor del espacio p\u00fablico; el caso de Soane resulta un caso paradigm\u00e1tico. Ver conferencia F\u00e9lix de Az\u00faa en el seminario Arquitectura Especulativa, UCJC – Museo del Prado, febrero-mayo 2015.<\/p>\n

4<\/sup>. A pesar de la aparente representaci\u00f3n del poder impl\u00edcita en el coleccionista, a pesar del recurso ilusorio de lo eterno impl\u00edcito en la propia colecci\u00f3n, a pesar del \u00e9xito profesional o el propio placer de crear y dise\u00f1ar su casa museo, \u00abJohn Soane no fue un hombre feliz\u00bb. Ver Sir John Soane’s Museum London<\/em><\/a>, London, Merrel Publishers Limited, 2009, pag. 31.<\/p>\n

 [:gl]

\"El
O Museo de sir John Soane<\/span><\/figcaption><\/figure><\/p>\n

A idea de atesourar a historia universal da arquitectura, a escultura e a pintura, asombra e aterra a partes iguais. Se a c\u00e1mara dos tesouros<\/em> forma parte ademais dun programa dom\u00e9stico, atop\u00e1monos ante unha sedutora entelequia do habitar: a vida como inmersi\u00f3n<\/em> permanente na cultura; a colecci\u00f3n como a representaci\u00f3n mesma do seu habitante e creador; a casa como resumo do universo.<\/p>\n

Casa museo de John Soane<\/a> en Lincoln’s Inn Fields ocupa tres vivendas consecutivas cosidas grazas aos proxectos sucesivos do propio Soane.1 <\/sup> \u00c1 estrutura lonxitudinal das casas entre medianeiras, contraponse a disposici\u00f3n transversal do museo, instalado na parte posterior como elemento vertebrador das tres edificaci\u00f3ns.<\/p>\n

A secci\u00f3n transversal revela unha concepci\u00f3n pre-moderna<\/em> do espazo, presentando un continuo flu\u00eddo e \u00e1 vez cualificando a luz de cada estancia desde un sofisticado cat\u00e1logo de b\u00f3vedas e lucernarios. A colecci\u00f3n, precisa e celosamente adquirida durante toda unha vida, al\u00e1gao todo, disolvendo a presenza da arquitectura nunha atmosfera heterox\u00e9nea saturada de imaxes de procedencia dispar:<\/p>\n

\n

\u00aba casa de Soane \u00e9 a historia de Soane, a autobiograf\u00eda de Soane, unha autobiograf\u00eda que obrigar\u00eda, por outra banda, a unha interpretaci\u00f3n da casa en clave literaria: […] a autobiograf\u00eda, a casa, \u00e9 a versi\u00f3n m\u00e1is real da vida, dunha vida na que o mundo da ficci\u00f3n desexada entrecr\u00fazase coa representaci\u00f3n do papel que cada un xoga nela\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

Casa museo de John Soane aparece como unha antolox\u00eda do Mundo, un gabinete,3 <\/sup>un Wunder K\u00e4mmerlein<\/em>, un lugar desde o que convocar a historia da Cultura como propia: un exercicio de submisi\u00f3n desde un dos espellismos do co\u00f1ecemento.4<\/sup> Coma se para ser un verdadeiro arquitecto fose necesario non xa co\u00f1ecer a Arquitectura, sen\u00f3n diseccionar a s\u00faa propia natureza; ofrecer toda unha vida ao seu estudo, colecci\u00f3n, debuxo e clasificaci\u00f3n; converter a cultura e a existencia nunha sorte de relixi\u00f3n enciclop\u00e9dica.<\/p>\n

S\u00f3 as\u00ed se entende a coexistencia abisal de obras de Canaletto e momias exipcias; cadros de Turner e copas etruscas; bronces da antiga Roma e figuras prehist\u00f3ricas de terracota ou cornixas gregas. Como o reflexo desfigurado da s\u00faa biograf\u00eda, a casa tesauro de John Soane ofrece a miserable e \u00e1 vez sublime exploraci\u00f3n de si mesmo: unha secci\u00f3n do Mundo.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto
\nMadrid. Febreiro 2015.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>. A familia inst\u00e1lase no n\u00ba12 cara a 1792; en 1813 ocupan a nova casa no n\u00ba13; tras a morte da s\u00faa esposa en 1815, en 1823 c\u00f3mprase e rehabilita a casa situada no n\u00ba14, completando a serie de tres casas de ladrillo entre medianeiras.<\/p>\n

2<\/sup>. Rafael Moneo sobre c\u00e1saa museo de John Soane: \u00ab4 citas \/ 4 notas\u00bb, Arquitecturas Bis 38-39, xullo – outubro 1981.<\/p>\n

3<\/sup>. F\u00e9lix de Az\u00faa ref\u00edrese ao gabinete como a primeira forma de museo, un antecesor do espazo p\u00fablico; o caso de Soane resulta un caso paradigm\u00e1tico. Ver conferencia F\u00e9lix de Az\u00faa no seminario Arquitectura Especulativa, UCJC – Museo do Prado, febreiro-maio 2015.<\/p>\n

4<\/sup>. A pesar da aparente representaci\u00f3n do poder impl\u00edcita no coleccionista, a pesar do recurso ilusorio do eterno impl\u00edcito na propia colecci\u00f3n, a pesar do \u00e9xito profesional ou o propio pracer de crear e dese\u00f1ar a s\u00faa casa museo, \u00abJohn Soane non foi un home feliz\u00bb. Ver Sir John Soane’s Museum London<\/em><\/a>, London, Merrel Publishers Limited, 2009, pax. 31.<\/p>\n

 [:en]

\"El
Sir John Soane’s Museum<\/span><\/figcaption><\/figure><\/p>\n

The idea of hoarding the universal history of the architecture, the sculpture and the painting, amazes and pulls down to equal parts. If the chamber of the exchequers<\/em> forms a part besides a domestic program, we are before a seductora entelequia of to live: the life like permanent dip<\/em> in the culture; the collection like the representation itself of his inhabitant and creator; the house like summary of the universe.<\/p>\n

The house John Soane<\/a>‘s museum in Lincoln’s Inn Fields occupies three consecutive housings sewed thanks to the successive projects of the own one Soane.1 <\/sup> To the longitudinal structure of the houses between dividing, there is opposed the transverse disposition of the museum, installed in the later part as element vertebrador of three buildings.<\/p>\n

The transverse section reveals a pre-modern<\/em> conception of the space, presenting a continuous fluid and simultaneously qualifying the light of every stay from a sophisticated catalogue of vaults and lucernarios. The collection, it is necessary and jealous acquired during the whole life, floods everything, dissolving the presence of the architecture in a heterogeneous atmosphere saturated of images of unlike origin:<\/p>\n

La secci\u00f3n transversal revela una concepci\u00f3n pre-moderna<\/em> del espacio, presentando un continuo fluido y a la vez cualificando la luz de cada estancia desde un sofisticado cat\u00e1logo de b\u00f3vedas y lucernarios. La colecci\u00f3n, precisa y celosamente adquirida durante toda una vida, lo inunda todo, disolviendo la presencia de la arquitectura en una atm\u00f3sfera heterog\u00e9nea saturada de im\u00e1genes de procedencia dispar:<\/p>\n

\n

\u00abSoane’s house is Soane’s history, Soane’s autobiography, an autobiography that would force, on the other hand, to an interpretation of the house in literary key: […] the autobiography, the house, is the most royal version of the life, of a life in which the world of the wished fiction interbreeds with the representation of the paper that each one plays in her\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

The house John Soane’s museum appears as an anthology of the World, an office,3 <\/sup> a Wunder K\u00e4mmerlein<\/em>, a place from which to summon the history of the Culture as own: an exercise of submission from one of the mirages of conocimiento.4<\/sup> As if to be a real architect was necessary not already to know the Architecture, but diseccionar his own nature; to offer the whole life to his study, collection, drawing and classification; to turn the culture and the existence into a luck of encyclopaedic religion.<\/p>\n

Only this way there is understood the abysmal coexistence of works of Canaletto and lean Egyptians; Turner’s pictures and Etruscan glasses; bronzes of the former Rome and prehistoric figures of terracotta or Greek cornices. As the reflection disfigured of his biography, the house tesauro<\/em> of John Soane the wretch offers and simultaneously sublime exploration of yes same: a section of the World.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. PhD Architect
\nMadrid. February 2015.
\nAuthor of architectural paragraphs<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notes:<\/p>\n

1<\/sup>. The family establishes itself in n\u00ba12 about 1792; in 1813 they occupy the new house in n\u00ba13; after the death of his wife in 1815, in 1823 one buys and rehabilitates the house placed in n\u00ba14, completing the series of three houses of brick between dividing.<\/p>\n

2<\/sup>. Rafael Moneo on the house John Soane’s museum: \u00ab4 appointments \/ 4 notes\u00bb, Architectures Bis 38-39, July – October, 1981.<\/p>\n

3<\/sup>. F\u00e9lix de Az\u00faa refers to the office as the first form of museum, a predecessor of the public space; Soane’s case turns out to be a paradigmatic case. F\u00e9lix de Az\u00faa sees conference in the seminar Speculative Architecture, UCJC – Prado Museum, in February – May, 2015.<\/p>\n

4<\/sup>. In spite of the apparent implicit representation of the power in the collector, in spite of the illusory resource of the implicit eternal thing in the own collection, in spite of the professional success or the own pleasure of creating and designing his house museum, \u00abJohn Soane was not a happy man\u00bb. To see Sir John Soane’s Museum London<\/em><\/a>, London, Merrel Publishers Limited, 2009, page 31.<\/p>\n

 [:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] La idea de atesorar la historia universal de la arquitectura, la escultura y la pintura, asombra y aterra a partes iguales. 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